I’ll be speaking on a panel at Siggraph to showcase our work on The Wrong Rock and talk about working in an online studio environment. http://s2016.siggraph.org/birds-feather Remote Studio Productions: Online Collaboration Tuesday, 1 August, 3:30 pm – 5:00 pm, Los Angeles Convention Center A discussion of issues related to online collaboration in production.

The Hollywood Reporter spoke to Ron Frankel and I about the work Proof did on The Mummy for the Zero-G sequence. Of course there was even more impressive work we did than just this sequence. I’d like to add that although the LA office kicked off the project, this was largely done by the talented Proof crew in the UK. This was an exciting project to be a part of. I saw the film in IMAX 3D and it’s a lot of fun! Read the full article here: http://www.hollywoodreporter.com/behind-screen/mummy-behind-scenes-zero-g-stunt-1011921

I worked on this game for three years over a decade ago. Now there’s a ‘making of’ video doing the rounds. It is a good game… it’s fascinating to see how well it holds up, and how in other areas it’s dated. About half the footage they used here was from my pre-rendered cut scenes. Some good, much of it looking a bit shaky now…. largely I’d put that down to not having the budget and the team size you’d expect on a project like this today (it was also my first time doing pre-rendered HD 3D as well). But I learned a lot from this and there were many, many improvements over what I’d been able to do in the real-time cut-scenes I did for Starfox Adventures (which was somewhat limited by starting out as a cartridge game on the N64). Anyway if anyone is wondering what the fuss is about go get the Rare Replay collection, Kameo is one of the best reasons to get it.

Continued from Part 1, Part 2, Part 3 and Part 4. It’s the Summer of 2014… a Friday and I was working on the Fox lot in Los Angeles for Night at the Museum: Secret of the Tomb when I got a call from my friend, Lucas Martell. We were invited to screen The OceanMaker at Pixar, and while we’re at it could we do a Q&A for them too. Pop! …. that was my brain exploding. Oh, and can we do it on Monday? Argh! So after begging my supervisor, Eric, for a day off, I drove up to San Francisco on Sunday and stayed with some friends ready for Monday morning (thank you Paul and Maria… big hug). I was lucky I was close enough to drive. Not all of the team could make it. Luckily Lucas and Christina Martell were in the area at the time. However Henning Koczy, had to go above and beyond to get there from New York. But there we were at Pixar, with thanks to Colin for setting it all up and giving us the tour (on his day off, I might add. How much does he love that place?). The OceanMaker crew arrives at […]

It’s been a little over two and a half years since ‘Devils Angels and Dating’ was released on YouTube. It’s recently enjoyed a spike in popularity and passed two million views. To thank the team I wanted to touch base with them, give them a chance to showcase their work and let us know where they’ve been with their careers since then. Many have gone onto do great things and built up quite strong credits. That’s probably more an indication of their tenacity and talent than the success of our film, but it’s still very encouraging. In particular it says good things about collaborating on other short film projects in the future. If nothing else I’m grateful for getting to know these talented people, because without the film I wouldn’t have known. Read the interviews here: http://devilsangelsanddating.ning.com/profiles/blog/list See the film here:

Kenny Roy’s book ‘Finish Your Film! Tips and Tricks for Making an Animated Short in Maya‘ features ‘Devils Angels & Dating‘ several times. It discusses the making of an animated short film. It’s available at all the usual book retailers.

Love in the Time of Advertising is online. The fascinating thing is how many people I have come across over the years that had a hand in making this film. It’s been a long time coming, and I was lucky enough to see several early versions. But even then it was really strong… and really knew what it was. It just had to go through production. I guess the earliest versions I saw were in the last few years of production, but I’d have loved to have seen some of the versions way back when it was still in story development. That would have been fascinating, as it’s such a wild idea and getting the tone, the world and the rules of the world working would have been quite challenging. Anyway, it’s well worth checking out. An inspiration to short filmmakers.

This is a tough balance for any Director. You want to communicate your vision and give your team firm direction as they go along, but if you tell them how to do their job down to the finest detail there’s nothing for them to get any satisfaction from. They’ll quickly realize there’s no point in using their creativity, and problem solving skills, and they’ll lose their personal investment in the task. Then all you have is a clock punching drone, waiting to go home. But that’s in the work place. On a volunteer based film production it can mean you lose their interest entirely, and you lose a team member. Since ‘Devils, Angels and Dating’ was produced entirely online I can’t even be sure when that happened to my team mates. I’m positive it must have occurred on some level for some people, as we had plenty of turnover with team members, like any volunteer based project. But without dealing with them in person it’s hard to figure out where that line is with each team member. Usually in person you can tell. Body language, mood and tone of voice are going to tell you a lot about how someone is taking […]

I started my first full time job in animation and, along with another person starting the same day (later to become a close friend of mine), we found ourselves being taken into a large room with a cinema screen high up on one wall. We were sat down and told we’re about to see what we’re going to be making for the next six months. What we saw was (for its time) a very impressive action adventure role playing game filled with characters and cut-scenes (FMVs or cinematics as many prefer to refer to them). It was my first day at Rare, a 200 strong, growing company with a very strong pedigree working under Nintendo’s wing. My friend and I were given an outline of what we’d be expected to start working on. He was a software engineer so we weren’t going to be doing the same things but we were going to be working together a lot. I was fully prepared to be doing in-game cycles, when the Director turned to me and casually told me I’d be making the cutscenes. I forget now if it was verbal, but I know that in my mind I went “Wahoooooo!”. It was more […]

There’s mixed stories about when you should get feedback on your ideas. In animation it’s common for people to say that you should get feedback early and often but I’d argue that’s not always true. If you do that you risk ‘too many cooks’ and you can water down the elements that would make the film what it needs to be to make it resonate with a targeted audience. Better instead to protect the idea, and explore it fully for as long as you can, taking breaks so that you come back to it fresh and with other perspectives filtered through you. Only when you’re returning to it repeatedly from a fresh perspective and you feel it’s gone as far as it can, is it time to get feedback. At this point it’s time to ask yourself if you have surrounded yourself with the kind of people that can give you valuable, constructive feedback. Whether you recognise it or not, your idea is still fragile and undeveloped and other people will see it. You need to be sure that the next person that sees it understands the fragile nature of an early idea and that they can […]